Ghostface Killah & Trife Da God - Put It On the Line

I'm back!

Following a highly productive 2004 in which he released his excellent Def Jam debut and introduced his new crew Theodore Unit, Ghostface Killah was back in the eyes of the public, the rap game like putty in his hands once more after a few years absent from the game. And like the noble gentleman he proved himself to be on records such as "Wildflower", Ghost decided that his next move should be to put on one of his homies, and since Trife Da God happened to be rolling his blunts in the studio that day (while muttering to himself about guns of course), he decided that was whom his protege would be. I mean, the guy did appear on a top 10 Ghost song ("Biscuits", you can fight me on that in the comments), so it was only right that Ghost returned the favour. He even got Koch Records to release the project, which some fans may have argued was a bad thing, but I digress. Everything was on track for Trife to get his chance at the big time. 

Unfortunately, Koch being the unfaithful bastards they are, Ghost was forced to place his own name on this album cover and record songs for it, so as to make it a far more marketable collaboration between the two MCs rather than a Trife solo. And then, Koch dropped the project altogether for some unknown reason, possibly so they could run off to try and save Xzibit's rapping career, which by now was on life support. This left Ghost to release this project independently on his own label, which is why it's likely that a lot of readers probably don't even know this existed, and would much rather read a write-up on Fishscale.

And as much as I'd love to talk about an album that people actually give a singular shit about, I don't think I'd be able to live with myself if I did this Ghostface discography out of order. Also, this album really isn't that bad. So, without further ado, here's the first acknowledgement of Put It On the Line since Max of Hip Hop Isn't Dead's excellent write up way back in 2008. And if you're lucky, I might write about Fishscale next. We'll see...

1. Cocaine Trafficking (prod. Anthony Acid)

Immediately, Ghost and Trife let us know that this album is going to have a completely different sound to the 2004 Theodore Unit album 718, which Put It On the Line is pretty much a spiritual successor to. The instrumental on here is aggressive, hardcore, and not chilled out in the slightest, with some slow paced piano keys and loud drums making for a dramatic entrance that really doesn't sound like a lot Ghost had done in the past - it's much more similar to stuff we would hear on his next three albums. And that's a good thing, as Ghost shines through on here with aggressive delivery and reasonably engaging lyrics that unfortunately only last for the first verse - remember, this was supposed to be a Trife solo, so you can expect him to have much more screen time than Pretty Toney on here. And for what it's worth, Trife sounds more at home here than on almost any of his performances on 718, with a chorus and verse that both sound tailor-made for the beat - sure, his lyrics are still about as peaceful as The Terminator, but at least the beat here feels like it warrants that kind of aggression. Overall, a very strong way to start this CD. 

2. Put It On The Line (prod. Look Out Ent.)

And after dominating the first song, the second is handled by Trife and Trife alone - in fact, there aren't that many songs on here where both MC's appear together at all, which is fair enough since they don't really have a ton of chemistry. This beat is a bit more relaxed than the previous one, with a nice little vocal sample repeating the titular phrase that's actually really quite memorable, and a nice groove elsewhere in the beat which keeps things moving. And Trife's lyrics are also more engaging than normal, with him discussing his history in the first verse, so that's good. I wouldn't say that I'm completely smitten with this one, as it does follow a very basic structure, and the hook is too long - but it does show some growth from Trife as an MC, a growth that we can hope continues throughout the runtime of this album. 

3. Struggle (prod. Nottz)

The first and only Ghost solo song, and it's so far easily my favourite on the album - sorry Trife, but in no universe are you as vivid of a storyteller as Ghost is. This track features an excellently soulful beat from Nottz that sounds like an outtake from The Pretty Toney Album (if you've read my review for that you'll know that's a good thing), and two verses from Ghost that are both some of the most engaging on the album thus far. The first details a life as some kind of mob boss, that pictures Ghost as ruthless - he acts as if not cutting people's limbs off is an act of mercy, dropping "faggot"'s and "motherfucker"'s like it was his day job (which it kind of is). The second verse is great too, arguably better, as Ghost details a poor and cold upbringing in New York, bringing back memories of the classic "All That I Got Is You" - I especially find the line about eating rice and ketchup quite memorable. And, to further put this ahead of the pack, Ghost doesn't feel the need to throw in an eight bar chorus in the middle, leaving the lovely sample to do it's thing alone instead. Yeah, this song is dope as fuck, and one big reason for Ghost fans to seek this album out. 

4. Hustle Hard (prod. Look Out Ent.)

Strap in, folks, for the next three songs are all without GFK. Are you kidding me? The first of which is "Hustle Hard", which seems to have caught on the most out of this album - it's by far the most viewed song on the album on Genius.com, which may be due to the 50 Cent sample in the chorus, which does sound dope. However, I don't see any other reason why this should surpass the popularity of "Put It On the Line", or to give an example of a later song, "War" - because this does not deviate from the Trife formula at all. The instrumental is actually one of the weaker on this album - the bass groove is smooth but the drums and sound effects are too glittery for my liking - and Trife just does what he always does, rhyming about drug dealing with the same goddamn flow again and again. He even throws a cheeky little bit of misogyny in there to spice things up - "bag the prettiest broads, and teach 'em how to move coke in their panties and bras". Does he not realise how much of a prick that makes him sound? I don't hate Trife, and I don't hate this song, but by this point I'm already wishing the man would switch things up with his style - and we're not even a quarter way through yet. No wonder the label wanted to throw Ghostface into the mix. 

5. Event (prod. Emile Haynie)

I must admit... I do kind of like this one. Emile Haynie (I still find it weird how he used to work with Ghost and co.) cooks up a behemoth of a beat, that's so intense it'll have you checking behind your shoulder every other bar to make sure Trife himself isn't standing behind you, ready to tie you up and spend the next two hours detailing just how goddamn dangerous he is and how many drugs he's going to stuff in your private parts, allowing you time to slip free and escape. And yes, once again Trife makes it clear that he's willing to go out with a woman just so he can hide drugs in her clitoris. What the fuck. Other than that, this song is pretty good, with a nice beat and some good lines, as well as a chorus that actually works - "the moral of the story is it ain't one" is arguably the best line on the album so far, and probably the funniest thing Trife has ever said in his life. It's no "Struggle" or even "Cocaine Trafficking", but it's still decent enough. I like it. 

6. Gangsta Shit (feat. Tommy Whispers) (prod. MoSS)

And the award for most creative song title goes to... (wait, did I use that one before?). This song is a lot better than the generic-ass title would lead you to believe, though, as MoSS (stupid name and all) really puts his all into this beat, which is smooth but also kind of unsettling, and has a great upbeat groove during the chorus, which actually sounds like a chorus too, rather than just four random bars they decided to repeat like most hooks on this album. Trife does okay on the track, with two verses about - you guessed it - gangsta shit; he even has one pretty memorable bar with "in the hood I'm a Legend like John", which is in no way clever, but at least shows more effort than usual. Perhaps the strangest verse on this track comes from guest star Tommy Whispers, who spits the third verse while apparently trying purposely to emulate the style of Ghostface - why else would he sound so similar? Seriously, when he first came in I thought it was Ghostface and the credits had made a mistake, and he even uses the "uh-huh" ad-lib Ghost utilises constantly. How the hell did the engineers not notice that? Still, overall I enjoy this one quite a bit - it's not great, but it is entertainment. 

7. Fire (prod. Jim Bond)

Ghost's first appearance since track 3 is unfortunately marred by the fact that this instrumental is one of the weakest on the album so far - I mean, this beat is seriously not that good in my opinion. The sample is awkward, the instruments are unpleasant, and the melody is repetitive. I don't like it at all. The chorus on this one is also repetitive as fuck, and while I enjoyed Ghost's verse a decent amount, you just know the man could be far better at this stage of his career. Trife's verse is arguably superior - he keeps surprising me with humorous lines, even ones that aren't supposed to be - here, it's the undisputedly knee-slap worthy "when I walk through I set off all sprinkler systems". The verses here are solid, but to be honest I was left underwhelmed by this one as a whole. 

8. Project Soap Operas (feat. Kryme Life & Tommy Whispers) (prod. Animal House)

Since Ghost evidently wasn't in the studio for this one, they got two of the best impersonators they could instead to replace him. I remember in an older post I mentioned how Trife sometimes sounded like he was trying to emulate Ghostface - well, it's nothing compared to these two other guys. Still, I don't mind too much, because this song is actually goddamn incredible. The instrumental is dark and depressing, with the three MC's each dropping verses where they account a tragedy that has occurred in the streets, all displaying quite potent storytelling skills that are remarkable for rappers who really hadn't been rapping for that long at this time. I think the best writing on here actually came from Tommy Whispers, with his story having an intense build up that keeps the listener on their toes throughout, ending in tragedy to show that life is no movie, and real life in the hood holds no happy endings. The news report outro where the woman tells witnesses to call "1-800-you-snitch" is harrowing too - these incidents can never have justice, because of this idea that telling someone about a murder is "snitching". Yes, snitching is pretty awful in some cases, but it can be a good thing too. Overall, this is the best song yet, and if you're gonna listen to a song without Ghost on this album, definitely let it be this one. Man, this is good. 

9. War (prod. PHENOM)

A Trife Da God solo - who would have guessed? And this one is pretty fun, if one of the songs I have the least to talk about on this album. Trife once again makes a goofy play on a musician's name, there's more sampling in the chorus, talk about being a hustler... the song's alright, man. It's okay. But it's also pretty forgettable and not one anyone would return to outside of the full album. That's just how it is. 

10. Out Da Way (feat. Wigs) (prod. Anthony Acid)

The second song on the album to feature no Trife, which makes sense as he would have been completely out of place on this brilliant instrumental that plays tribute to The D.O.C.'s "It's Funky Enough", to fantastic results. This short but wonderful back and forth between Ghostface and Shawn Wigs is pretty humorous and doesn't take itself too seriously, with Wigs' squeaks not being obnoxious but actually sounding rather excellent. Shawn actually gets far more screen-time than Ghost on this one, which is a shame as when he is present Ghost sounds incredible - but Shawn holds his own too, proving again to be the best Theodore Unit member in my opinion. Who cares that he kinda sounds like Fred Durst - dude is still dope. This was a nice break from the hardcore shit elsewhere on the album, and I really appreciate it - this song rocks!

11. Drugz (prod. Dirty Dean)

Not drugs, no. "Drugz". Get it right. This track is all about Trife getting falsely accused of drug possession, with "falsely" being difficult to believe considering that almost every verse he's spit so far on this album consists of him rapping about being a drug dealer. Still, at least, like the previous song, it's a nice change of pace, and I like Trife's flows on here quite a bit too. The sample on this one also reminds me of the sample on Ghostface's song "It's Over" quite a bit - it could be the same sample actually, although perhaps with altered lyrics. The lyrics from Trife on here are actually kinda engaging, and musically it's pretty nice too. Yeah, this is a pretty cool song. 

12. Milk 'Em (prod. MRR-ADM)

The only single from this project, and it wasn't even released for this album. Originally, this was a standalone single by Ghost featuring Trife, and came as part of this vinyl single (that I actually own) with five different versions of the song - the one on here being the "MHE Version" listed on the vinyl. And this may be my favourite of all of them, with a fantastically haunting instrumental that is the most hardcore and "Wu" style of the whole entire album. I mean, this beat is raunchy and aggressive as fuck, and is the perfect match for the Ghostface Killah, who murks this instrumental like it was wearing the wrong New Balance. The "Mighty Healthy" scratches at the start are brilliant as well, and I even don't mind how abruptly the song ends - it just helps it to keep that frantic energy. And while Trife is solid, Ghost is the real star of the show here. This is easily one of the dopest tracks on the album. 

13. Late Night Arrival (feat. Wigs) (prod. J-Love)

Another shorter, interlude style song, where Ghost, Trife, Wigs and an uncredited Solomon Childs all compete for most cocky demeanour, with Ghost coming out on top thanks to the line "fuck Mike Jordan, it's P-Tone in the air". The instrumental on here is airy and sinister, perfectly capturing the sound of a night in the city of New York, and all of the MC's do their thing over the beat - even Solomon Childs doesn't sound awful, despite the fact that in the time between 718 and this album he still hasn't learned the difference between "flowing" and "speaking". Actually, I'm not sure why Solomon is on this album at all - didn't he get kicked from Theodore Unit, hence why he isn't credited here? I'm not sure, but I am sure that this is a really cool little track. Check it out. 

14. Man Up (feat. Sun God) (prod. Anthony Acid)

This is unprecedented - after the first eleven songs here consisted of a total two songs with Trife and Ghost rapping together, we've now just had three in a row straight collaborations. It's a shame that this is also the last on the album. Also, that this song isn't great. It's probably the most generic thuggish ruggish song on the album, with a beat and hook that sound like something from a later DMX album - that's not a compliment mind you. Still, I liked Trife and Ghost on here, so that's something - then again, I don't think Ghostface could write a bad verse if he tried in the mid 2000s. The song also serves as the introduction of the new Theodore member, Sun God (a horrible stage name if ever I've heard one), who also happens to be Ghostface's son. I find it quite funny that, between Shawn Wigs, Trife, Kryme Life and Tommy Whispers, Ghostface's actual son is the one to sound least like him - then again you'd have to be pretty talented to do a Ghost impression as well as Kryme Life. Anyway, this song is pretty ehh - as much as I hate to admit it, solid verses can't save a washed out chorus and beat, and that's evident with this track. 

15. Game Time (prod. Emile Haynie)

God, I do write a lot, don't I. This is the last song on the actual album (although there are bonus tracks to follow), and thankfully it's a step up from the previous song, with an intense beat from Emile Haynie that allows Trife to spit his shit and go out with a bang, as he's nowhere to be found on the songs that are to follow. Tommy Whispers also shows up on here for an uncredited verse - or at least it's him according to Genius and other publications. It sure as hell doesn't sound like the guy on "Gangsta Shit", but whatever. Point is, this song is a pretty cool way to end the album, if Trife's preference for long and repetitive hooks is starting to wear a little thin by now. Also, yet another celebrity name is tastelessly punned on here. Who the hell keeps telling him to do that??

The following three songs are all listed as bonus tracks, yet sadly might well have been the songs Ghost fans were most hyped for on this album, for reasons that will soon become clear...

16. The Watch (feat. Raekwon) (prod. RZA)

The first of the three bonus songs is kind of infamous among hardcore Wu fans as one of a few songs from the Bulletproof Wallets recording sessions, that ended up not making the album despite being leaked to the streets and getting great reception. Here was the first time it saw an official release, and that's a good thing, as the song is dope as shit. The instrumental is the exact one used on Nas' "No Idea's Original" and Mos Def's "Grown Man Business", and it's a great beat with dusty drums, a memorable riff, and great flutes (or whatever they are) that make for something goddamn creative. And Ghost, ever the visionary, uses the beat to humanise his watch collection, with Rae playing the role of a watch mocking Ghost for not getting much radio play compared to other MCs, like DMX and Jay-Z. The lyrics in this one are so memorable and often hilarious that you'll wish the song lasted longer, and didn't spend it's entire second half acting as a platform for Ghost rambling rather than rapping - still, I can't say this one is anything less than fantastic. Dope shit. 

17. Ghost & Giancana (feat. Kool G Rap) (prod. Da Beatminerz)

A pretty cool collaboration between Ghost and legendary mafioso rapper Kool G Rap, who's catalogue I'm pretty excited to explore (yes, I've never listened to a Kool G Rap album - I'm only 17, I'll get there), and this only furthers my hype. The beat on here is kinda weird, but I like it, and Ghost absolutely murks it, with his voice being as brilliant as ever, and his flow being potent as can be over such unconventional music. Kool G Rap also does his thing with lyrics about killing your bitch ass, and the beat certainly helps add to this air that you're trying to escape the two hosts before they catch you. This is a cool track - I wonder if it was meant for an album. 

18. The Sun (feat. Raekwon & Slick Rick) (prod. RZA)

Like "The Watch" this song was cut from Bulletproof Wallets, but in this case the song didn't get removed from the tracklist on the CD art, which greatly disappointed many who were hoping to hear Slick Rick on a Ghost album. Well, their wishes were granted here when the song saw a release, and... the song is weird. However, I kind of like it. After 17 songs of drugs, guns and killing, it's nice to hear a track showing love and appreciation for Mother Nature, and one of life's simple pleasures that is basking in the heat of the sun, whether you're lying on a beach or going on a coastal stroll. The track features no profanity, no-one is killed, and not a single drug is sold - this song is pure innocence, and actually works quite well. Except the final bar of Raekwon's verse, which is awkwardly placed and makes no sense. Just listen to it and you'll see. While I understand that this song would have been a weird way to open an album titled Bulletproof Wallets, I think it would have been an interesting experiment. This song is actually kinda dope. 

If I were to judge an album objectively based on how unique, forward-thinking, and well-written it was, I think I would give Put It On the Line a 5 or a 6 out of 10. However, I don't do that - I judge it on how much I enjoy the listen, and how much I think others might too, and with that in mind this thing is pure entertainment, and is actually pretty great. Sure, the writing is repetitive. Sure, some of the choruses are totally unnecessary and bog the songs down. Sure, the album isn't a well thought-out collab, but rather a poorly sequenced mashup of Ghost and Trife songs that make the album sound like a bootleg compilation. But still, against all odds, this thing keeps giving, and constantly finds ways to entertain you, through memorable samples, dope flows, and fantastic Ghost performances that are almost consistently of top quality. One of the best songs here is the only Ghost solo track "Struggle", which would have given songs on The Pretty Toney Album a run for their money. And don't think for a second that their aren't other high quality moments. "Milk 'Em" is a fantastic hardcore banger. "Project Soap Operas" is probably one of the best songs recorded by Wu-Tang affiliates, full stop. "Late Night Arrival" and "Out Da Way" are some fantastic little tunes that really keep this album interesting and invigorating. And overall, this album is just for people that like rapping and like beats. It's not going to impress you. It's not intending to spread a message. It's goal isn't even to be concise. It's simply there to entertain. And on that front, I'd say it delivers, and is yet another stellar entry in the Ghost catalogue. I'd recommend a listen - and hey, if you pick the CD up you get a bonus DVD of Ghost live on stage, and who doesn't want that?

Best Tracks: Cocaine Trafficking, Struggle, Project Soap Operas, Out Da Way, Milk 'Em, Late Night Arrival, The Watch, Ghost & Giancana, The Sun

Worst Tracks: Fire, Man Up

I've written about Ghostface before too!

Mos Def & Talib Kweli are Black Star

Despite it being Half Term this week, I've really not had any time to sit down and write about an album until now, what with homework, driving lessons, gym... oh, and listening to a lot of new music as well, of course. It's been a surprisingly busy week, but now, on the final day of this holiday, I've finally found time to sit, chill, and make a blog. Nice.

In the mid to late '90s, underground hip-hop was starting to become more and more of a frequently used term, as the genre became more and more popular and therefore had more and more participants as well. While in the mainstream you had A Tribe Called Quest, Jay-Z, OutKast and Nas, and on the distributing but not quite "major labels" you had Tha Alkaholiks, various members of Wu-Tang Clan and Xzibit, on a small New York based label called Rawkus Records, some MCs were starting to make noise. In 1997, hip-hop trio Company Flow released their debut group album, Funcrusher Plus (already covered on here) - which was excellent - and beside them we had other artists making their name with singles, whether that be Shabaam Sahdeeq, Pharoahe Monch or R.A. the Rugged Man. Perhaps the two most widely anticipated, however, were none other than Mos Def and Talib Kweli, who's appearances on Rawkus' compilations garnered a lot of hype for potential albums. Perhaps what the audience didn't expect, however, was for the pair to team up on their very first outing in 1998. But they did, and what we got, was Mos Def & Talib Kweli are Black Star, a hip-hop classic.

As a younger listener, this certainly wasn't my introduction to either MC - in fact, both member's appearances on Kanye West's The College Dropout was almost certainly the first time I heard either. And, in fact, it wasn't until I had heard two Mos Def solo albums and one solo from Kweli that I finally got around to checking this thing out. And given that my exposure to Mos Def included his debut solo Black On Both Sides, as well as the brilliant and highly underrated The Ecstatic, it's safe to say that I had pretty damn high expectations for this thing going into it. Oh, and there's a Common feature too. Anyone who's familiar with this blog should know I would have been excited about that. 

So did this album deliver? Well, to answer that, just remember the name of the guy on the left of this album cover. 

Most Definitely.

1. Intro (prod. DJ Hi-Tek, co-prod. Talib Kweli)

A surprisingly eerie introduction track consisting of a sample from a speech, some dark piano keys and dusty drums, and some haunting record scratches that wouldn't sound out of place on a horrorcore album. This intro is intriguing as shit, though, and certainly does quite the job of hyping our two hosts up. As album intros like these go, this one ain't half bad. 

2. Astronomy (8th Light) (feat. Weldon Irvine) (prod. Mr. Walt of the Beatminerz)

The first actual song on this album is this slightly sinister yet also absolutely beautiful track, where Mos and Talib not only introduce themselves as brilliant MCs, but also spokesmen for their race and true knowledgeable men who have a lot to say. The intensity displayed within the back and forth verses here is highly intriguing, and surely not what anyone would have expected in the very first track, and it really helps excite the listener for what's to come. On the song, Black Star are like a hive mind, and with the amount of times they pass the mic back and forth between verses to relay their food for thought, and their explanation on why exactly the group and album were conceived, you have to wonder which bits were written by whom, as neither MC gets more than four bars at a time on the mic before the other swoops in and grabs it. On the track, Mos Def is the more entertaining with the clearly better voice, but Talib arguably is the more grounded of the two and the better lyricist (on this track at least), and they bounce off each other as smoothly as two beachballs. Team that with a fantastic instrumental that's just subtle enough not to take away from the two lead MCs, and you've got a brilliant opener on your hands. Could this be off to a better start?

3. Definition (prod. DJ Hi-Tek)

The lead single, that for some odd reason I didn't really enjoy on first listen. I think it's the beat, which is a lot more simplistic than I was expecting for something considered to be an absolute hip-hop classic. I was expecting something similar to the Mos Def solo song "Hip Hop" I think (don't ask me why, I have no idea), and when I didn't get that I was disappointed. Still, after two more listens I was seduced by the track's relentless energy, the incredible flows of both MCs, and the fantastically catchy hook. Oh, and the beat too, which is actually a lot better than I initially thought. Sure, there isn't a lot going on, but the drum pattern and bass teamed with the glittering keys and samples coming in every now and then make it one of the darker and more intense instrumentals seen on a so-called "conscious" hip-hop album. The lyrics on here consist of a mix of bragging and more socially conscious lyricism, and for my money Talib is the better rapper here, especially during his second verse - "livin' my life, expressing my liberty, it gotta be done properly, my name is in the middle of equality" is my favourite part. Still, Mos Def shines through on the incredibly catchy chorus anyway. Shit, this song is brilliant. Still, there's one thing - what would a darker, richer sounding version be like? Hmmm...

4. RE:DEFinition (prod. DJ Hi-Tek)

Oh right! It would sound like this! Coming in hot with one of the coldest titles in hip-hop history, this is kind of a remix to the last song, but it sounds very different. The instrumental is darker, with the use of violins giving it a cold and creepy air - meanwhile, the two MCs spit completely different verses, Mos Def's the most impressive yet on the entire album. I mean, just listen to that rhyme scheme! The only thing that remains the same really is the chorus, but that's fine because I really enjoy that anyway - and it's sung in a more dramatic way here in keeping with the thrilling instrumental. Mos Def's cries before the first chorus are indicative of the man's later ventures into singing, where on an album like The New Danger he would get really passionate with it. But here he sounds absolutely great, and his verse is truly astonishing. This is arguably even better than the song it's remixing, and if you read the paragraph above you'd know that was no small feat. Phenomenal stuff. 

5. Children's Story (prod. Shawn J. Period)

Where the last song paid tribute to a song on this very album (which is pretty hilarious come to think of it), this one (a Mos Def solo) honours an '80s classic, Slick Rick's "Children's Story", which has been parodied and interpolated countless times in the genre. This is perhaps the best reworking of it out there, though, as it tells the story of a guy who was misled into thinking that sampling R&B was a sure-fire way to make great hip-hop. Of course he was wrong, but the tale ends up giving him karma, by way of shooting him the fuck up. Perhaps he didn't quite deserve that, but nonetheless the story itself is compelling, and Mos Def's brilliantly funny delivery on this one completely sells it for me. Not to mention it being such an incredible homage - it takes a lot of skill to be able to maintain the exact same structure of the original song yet still make the lyrics completely different. Also, this beat is nice. Easily one of my favourites here, and one of the most memorable too. 

6. Brown Skin Lady (prod. J. Rawls)

This song? Oh, it's nothing. Just the greatest "song for the ladies" in existence. Yeah, you read that right. I mean, what to talk about first? The absolutely heavenly instrumental from J. Rawls with one of the best samples in existence? The chorus which is as catchy as all hell? The sensual yet not overly soppy lyrics? I mean, everything about this is just perfect. "And everybody on the avenue I know, when they see here say ahhh" is such a phenomenal chorus, and the verses are also really nice. The stop start during Mos Def's is dope, and Kweli's verses feel pretty relatable and interesting too, especially with lines like "I don't get many compliments but I am confident". The singing from Mos Def towards the end also shows an incredible amount of passion, and this whole song is the perfect example of a sensual song done right, from the beat to the rapping to the singing to where it's sequenced in the tracklist. You know, as much as I hate to say it, this may be my favourite song here. I mean, it's just perfection. What a song. 

7. B Boys Will B Boys (prod. Geology)

Another tribute to the golden age, this one in the form of an interlude with a witty title that I bet you didn't get first time. Oh you did? Darn. After a lengthy intro where Mos takes on persona of Master of Ceremonies, we get a quick back and forth verse before an instrumental outro that is actually really nice. Sure, this certainly isn't a highlight, but as interludes go, it's fun as fuck. I like this. 

8. K.O.S. (Determination) (feat. Vinia Mojica) (prod. DJ Hi-Tek)

Easily the most laid back track on the entire album, this Talib Kweli solo (with sung assistance from Vinia Mojica, seen all over conscious hip-hop projects from this era) is all about "Knowledge Of Self", and how that can help people to find "determination" and live a proper life. The theme of this track certainly isn't as close-knit as some of the other songs on this album, but Talib's verses are still pretty compelling, and Hi-Tek's beat is one of the most chilled out and relaxed on the entire album - this shit puts the feeling of a lazy afternoon into sound, in the best way possible. Also, I love Vinia Mojica's contribution, with her singing a memorable chorus with slightly awkward lyrics that are easy to tune out when you pay attention to her great melodies. If anything, this song's lack of energy is the only thing making it less standout compared with most of the other songs here - but I'm certainly not complaining. In the moment, this is absolutely wonderful. 

9. Hater Players (feat. Apani B Fly Emcee) (prod. Shawn J. Period)

Inside the booklet for this album, there's a rather hilarious alternate cover of sorts that pictures Mos and Kweli sat in beach chairs, with Pen-and-Pixel graphics surrounding them - "Black Star" written above in big, diamond encrusted lettering, two sparsely dressed women, cars, an alcohol advert, jewellery - basically a mockery of the No Limit/Cash Money album covers of the time, and also the general commercialisation in hip-hop. Well, that's kind of what this song deals in, helped along by Apani B Fly for some reason, who's sole duty here is to apply annoying ad-libs in the background. The title inverts the popular term "player haters", and there's a line in this song which I think sums up the track and it's themes best - "reverse psychology got 'em scared to say when shit is whack; out of fear of being called a hater - imagine that!". Kweli is really on point on this track. I'm a big fan of the theme of this one, and it's clear that it's message is even more relevant nowadays, with many rappers gaining spiteful and rampant fanbases no matter how good or bad the quality of their music, and these people will probably call you a "hater" if you say anything less than flattering about their favourite artists. The lyrics here are brilliant, and the pulsating beat that 's very very different from the previous one helps it along nicely. Dope stuff. 

10. Yo Yeah (prod. J. Rawls, co-prod. Talib Kweli)

And the award for best use of the English language in a song title goes to... this interlude, which contains some samples from speeches or documentaries or whatever. This basically serves to prelude the next two songs, but thanks to the lovely music, funny scratching, and hilarious ending moments, it's still rather entertaining. Yeah. 

11. Respiration (feat. Common) (prod. DJ Hi-Tek)

Quite easily the most depressing sounding song on this album, this track details life in the hood, and gets down into what really goes on down in there that you don't see in the clips shown on TV. The song is soundtracked by a tragic and highly emotive instrumental from Hi-Tek that oddly makes use of some guitars, and sounds absolutely mesmerising, as our two hosts plus my man Common deliver some of the most thought provoking verses of the entire album. I have to say that Com has my favourite verse too - his emotional delivery teamed with the lyrical content makes for a compelling moment that sounds brilliant over this beat. That said, I'm not about to disregard Mos and Kweli, because both shine in their own ways over this beat too. I will say that this is not my favourite song here (surprising, huh?). The instrumental is a little too somber, the song is too long, and the chorus is nowhere near one of the best on the album. But that's only because this album is so fucking good. Anywhere else this would be in the top three of the album. It's still bloody brilliant. 

12. Thieves In the Night (prod. 88 Keys)

Another highly emotional and deep track? Jeez, this is getting difficult to handle. This track is all about the oppression of Black people in America, and addresses some of the film samples heard throughout the album on previous tracks talking about conditioning and "brainwashing". The instrumental from 88 Keys on here is similarly haunting to the last track, only now it's much more lo-fi, which does make it easier to concentrate on Talib and Mos' performances on the track, as they pick apart some of the flaws they find within their own community. "Chasin' after death so we can call ourselves brave". Damn. I think what hit me hard about this one was that, with the title, I was expecting something fun about them two being "thieves" or something of that nature - when in reality the meaning of the title is something much darker and hard hitting. "Hiding like thieves in the night from life, illusion of oasis making you look twice" - and the haunting singing accompanying this lyric makes it even harsher. This song is blunt as shit, and for what it makes you feel it is the best track on the album for my money, and arguably a top 10 hip-hop song of all time. How this album keeps getting better, I don't know. But it does. 

13. Twice Inna Lifetime (feat. Jane Doe, Punch & Words) (prod. DJ Hi-Tek)

To end off the album, Mos and Talib decide it's finally time to finish up the deeper content, and end on a fun note with a posse cut full of braggadocio, spit over a slightly haunting and very underground beat that is actually one of the best on the entire album, and absolutely perfect for this kind of content. Outside of the hilarious juxtaposition in "Punch make rappers march like the third month (eye roll) / I build with friends, lyrically spit gems" (yeah, evidently not) - every bar and every verse here are filled with great quotables and lines, with Mos having my absolute favourite verse on the track, with a brilliant ending. I think it was a very smart decision to end the album like this too, as this was the sort of thing Rawkus listeners had come to expect, and the sort of thing Mos and Kweli were doing before this album - it's only right they went back to their roots. And while this isn't as deep or thought provoking as other stuff on here, it certainly is goddamn entertaining, and probably the best way this album could possibly have finished. "Like THIS!"

Even a hip-hop superfan like me has to admit when a project is flawed. There are very very few albums that I maintain to be absolutely perfect in every way - albums where every song is brilliant, there's lots of diversity, the rapping and production is both stellar and innovative, the sequence and length are perfect, etcetera etcetera. Mos Def & Talib Kweli are Black Star is one of these albums. This thing is simply phenomenal. Throughout this record, both Mos Def and Talib Kweli prove themselves to be top tier lyricists, with brilliant rapping performances throughout and a bunch of quotable moments relating to lots of different themes, including life in the hood, the commercialisation of hip-hop, the oppression of black people in America, and simply how they are great at what they do (because come on, this is a rap album). Not only this, but they both have unique styles that bounce off each other superbly - Mos Def certainly has more charisma, but Talib has more energy, making them almost like a friendly, non-confrontational Ghostface Killah and Method Man type duo. And having two rappers helps provide different perspectives on the topics, which always makes an album become more welcoming when it comes to discussion of political views. And how about we talk Mos Def's singing on this thing - because he is truly unbelievable. The choruses on "Definition", "Brown Skin Lady" and "Thieves In the Night" are some of my favourites of all time, and that's not just due to the melodies, but also Mos' passionate delivery - which he would hone even further later on, but shines through here nonetheless. And what about the production?? The beats on here are varied, and excellent - I mean, compare the pulsating relentlessness of "Definition" and "Twice Inna Lifetime", with the haunting and sinister "Astronomy (8th Light)" and "Thieves In the Night". These four songs exhibit two very different types of hip-hop instrumental, and yet are all some of the best of their kind. And to top things off, this legitimately has one of the greatest hip-hop songs of all time in "Thieves In the Night" - not just a personal favourite, but objectively. That song is perfection. But really so is everything on here. The skits. The atmosphere. It all ties up into one irresistible fifty minute package that stands as one of the best pieces of hip-hop ever released, and the perfect introduction to the genre for anyone. This is not only the perfect beginning to two of the more fruitful careers in the genre, but it's also the perfect hip-hop album full stop. Yeah, you read that right. This thing is quintessential, and unbeatable - and if you haven't, I insist you listen to it. If you ask me, the genre wouldn't quite have been the same without it. 

Best Tracks: "Thieves In the Night" is the best song, but every other track is phenomenal too.

Worst Tracks: Apani B Fly's vocal track on "Hater Players"

I've never written about either of these guys before, so until I do here's some Company Flow to tide you over. 

Jay-Z - The Black Album

Between 1996 and 2002, Jay-Z made a dizzying ascent to the top of the rap game, going from emerging boom-bapper to pioneer of the jiggy movement, to the man that bought the Dirty South to the forefront of the genre, to veteran and legend by the time The Blueprint was released in 2001. He proved his cemented status in hip-hop in 2002 when a collaborative album with newly-exposed-as-a-paedophile R. Kelly and a bloated mess of a double album both had his name on, and he still was considered one of the greatest active MCs in the game. Even being on the receiving end of one of the best and most brutal diss tracks in history couldn't stop him. By the time 2003 came around, Jay-Z realised that the only man who could realistically end his career was he himself, and since he was getting a bit long in the tooth for this rap shit by then, he decided it was time to retire. Therefore, he announced his final album, a project which would return to a humble one disc format (thank God), and have the interesting concept of different producers for every track (which was almost the case, although not entirely). The Black Album.

This was the first Jay-Z album to have no featured rappers whatsoever, and was also one of his most successful projects to date - hell, my geography teacher made reference to the track "99 Problems" a few weeks ago, and that wasn't even the lead single. I myself didn't really like this disc on first listen, though. I can't really remember why, as this was a long ass time ago, but I think I just didn't feel it's vibe. In all fairness Jay's was the third hip-hop discography I listened through after Eminem and 50 Cent, so I wasn't exactly ready for a lot of his work at the time, but even so the only track I remember enjoying on that first listen was the last track. However, the album grew on me overtime, and nowadays I think I can safely say that this is my absolute favourite Jay-Z album. Yes, above The Blueprint, and yes, above Reasonable Doubt. Maybe it's the thought that this was his final album, and the epic connotations that come with that. Maybe it's the diversity of producers, or the array of classic Jay-Z songs that are in more abundance than ever before. Whatever it is, this one edges it to the top of my list every time.

And now I get to review it! I realise it's been a while since I've done a Jay album on here, partly due to the heinous allegations levelled at him a few months ago, partly due to me trying to not review too much in case I run out of albums. But since he seems to have been cleared, and since I really, truly believe he is innocent in this, I figure it's time to bring his name back to the blog. Let's get into this one, then. 

L'album, noire. The Black Album.

1. Interlude (prod. Just Blaze)

Given that this was supposed to be his last album, Jay-Z decided that he may as well get the one thing he'd never done before out of the way while he still could - a rap album intro, complete with spoken word and a great instrumental that will sadly never be rapped over. Still, the instrumental really is "great", so this is enjoyable enough. 

2. December 4th (prod. Just Blaze)

The first song on this album serves as an autobiographical cut that aims to explain Jay's younger days as a drug dealer, why he got into that profession, and also how he managed to get out through hip-hop. Just Blaze's triumphant instrumental is fitting and poignant, and I absolutely love the interludes from Hov's mother - but it's Jay himself who makes this opening song as brilliant as it is. Aside from one or two cuts, I don't think the man has ever been as lyrically invigorating and engaging with his storytelling as he is here, and he uses his unique delivery to full effect too in order to give the audience as many quotables as possible. The track also introduces a common theme on The Black Album, referencing classic hip-hop tracks Jay grew up listening to - here it's Cypress Hill's "Insane In the Membrane". The verses are brilliant, but perhaps the best moment of this song is the outro, with Jay's echoes of "maybe you'll love me when I fade to black", leaving the listener sad, but also proud for this man who has had such a successful career despite humble beginnings. This track really makes you root for Jay-Z, and not only that, it sounds great too. I'm a massive fan of this one. 

3. What More Can I Say (prod. The Buchannans)

Over more horn-filled, triumphant production, Jay gets into explaining exactly why he deserves to retire - he's a brilliant rapper and he's made his fortune, so what else is left to do? This track is really just another classic Jay joint, filled with line after line of quotables - "I'm not a biter, I'm a writer for myself and others / I say a Big verse I'm only biggin' up my brother" - was there a better way to address those accusations? The line about Busta Rhymes is also pretty interesting, as is the subliminal to 50 Cent, and there's a bunch of others I could name too. This isn't my favourite on the album, as I'm not the biggest fan of the sung chorus from "Hum-V", but Jay's verses and the brilliant instrumental are quite enough for me to name this a great track. 

4. Encore (prod. Kanye West)

Yet another anthemic, brass-fueled instrumental accompanies Jay on this one, only now it's produced by a young Kanye West, and feels faster paced than the previous two as a result. This track is one of the more creatively structured on the album, what with it's live setting, amalgamation of backing vocals and an interlude which portrays an actual encore - but this is just one of the reasons why it's so brilliant. Not that it's short of those: the instrumental from Kanye is as fantastic as you might expect from him in 2003, and Jay's lyrics are motivational and exude masses of confidence, which is exactly the intention. This is simply a brilliant song. 

5. Change Clothes (prod. The Neptunes)

The lead single to this album, in the same vein as "Excuse Me Miss" in that it's a track for the ladies where Jay paints himself as a gentleman - only here it's even more convincing. Also, this song is just better. The Neptunes craft a wonderfully relaxing and very early 2000s beat for this one that really sounds nothing like the last three tracks, and it's the perfect match for Hov's lyrics about being the best rapper and pulling some chick. Sure, it's shallow, but it's the lead single so whatever. I also love the chorus from Pharrell Williams, and Jay's "so necessary" bridge is a surprising earworm. I know a lot of people think this one is a blemish on the album, but personally I'm a massive fan. 

6. Dirt Off Your Shoulder (prod. Timbaland)

Probably the nastiest beat Timbo has ever concocted, and some of the slickest rhymes and flows Hov ever spit. I mean, does it get much better than this? The waving synths, the main loop and the drums on this instrumental are all fire as fuck, and Jay's verses are as easy to learn off by heart as the alphabet, which is meant as a compliment by the way. The lyrics are pretty similar to what we've heard previously on the record, with some lyrics about drug dealing, cooking cocaine, being rich and successful, etc. etc.... but it still works, and Hov's extra swagger with his flow certainly helps this one stand out a lot. And what about that chorus, man?? One of the most memorable in all of hip-hop history. This might well be the definitive Jay-Z banger. Classic stuff.

7. Threat (prod. 9th Wonder)

Arguably the most underrated track on here in my opinion, this one is actually produced by 9th Wonder, who I've covered on here many times before thanks to his frequent work with one of my favourite underground rappers Murs. Don't ask me how this collaboration with Jay-Z came about though - it wasn't like 9th was a hugely sought after producer back in '03, and it wasn't til '04 and '05 when he made a name alongside Murs and Little Brother. Still, he shows a lot of promise on here, with an aggressive and, well, threatening instrumental with a great melody and nice female vocal sample. Jay-Z's rapping is also arguably the best it has been on this entire album so far, with the aggressive lyrics and silky smooth flow complementing the beat perfectly. This is top tier stuff. Also, Cedric the Entertainer is pretty funny on here. 

8. Moment Of Clarity (prod. Eminem, add-prod. Luis Resto)

I guess Jay-Z didn't like that Eminem produced a record on Nas' 2002 album God's Son without rapping on it, so for The Black Album he decided to get the same thing, regardless of the fact that Eminem isn't actually a very good producer - outside of his own albums his beats are all a bit drab and plodding for my tastes. This one is solid though, I guess, with a nice pounding bassline, even though it still drags on a bit - Jay-Z is left to make something out of it, and somehow he enhances this instrumental a million times with one of his best performances on the entire album. The chorus utilises the names of all of his studio efforts up to that point, which is absolute heaven for nerds like me - one of my pet peeves is when artists ignore the existence of their past albums. And on top of that, every verse is incredible too, painting a picture of Jay's realisation of his status in the rap game, and how exactly he rose to that point. The infamous lines about Common and Talib Kweli also appear on here, and to me those are definitely compliments - he's basically saying that he sold out, unlike them. As I said, the beat on this track isn't brilliant, but everything else about it certainly is. 

9. 99 Problems (prod. Rick Rubin)

Simply put, one of the best hip-hop songs in existence. Jay-Z takes Ice-T's original hook and puts it over some energetic, Beastie Boys style production from Rick Rubin, and then laces that with three of the most memorable verses of his entire career, the second which is his best ever in my personal opinion. I mean, this guy literally had a conversation with a police officer within his verse. It's just phenomenal, not to mention as memorable as waking up to someone breaking into your house (I say that because I had a suspicion someone had last night, but they hadn't (checks under bed for the tenth time)). That's not to discredit the other two verses either, because they are both full of quotables and classic Jay flows that are timeless and some of his best. Honestly, this might just be the best Jay-Z song full stop, and with that iconic of a chorus it's certainly one of his biggest. This song is the fucking shit!!!

10. Public Service Announcement (Interlude) (prod. Just Blaze)

Notable for its recent appearance in a Google advert that popped up all over TV recently. Also, because it's one of the greatest "interludes" of all time. I use quotation marks because this isn't really an interlude at all - instead, it's a two verse wonder (yes I just made that up) from Hov spit over one of the most iconically brilliant Just Blaze instrumentals of all time, and with one of the best opening lines in hip-hop history just for it's legendary status - "allow me to reintroduce myself, my name is Hov!". The tension built before this entrance is also perfect, and the line deserved every bit of that. Matter of fact, so did the song. This is unbelievably good. 

11. Justify My Thug (prod. DJ Quik)

Probably the only song on here that seems to be divisive in Jay's fan base, which I kind of understand given the dodgy Madonna interpolation on the hook - but still, can you really argue with that beat? DJ Quik's instrumental on this one absolutely bangs, with incredible synths and bass, and a perfectly placed Run-DMC sample that adds an almost creepy vibe to the track. And while Jay's opening lines are weirdly repetitive and completely irrelevant, he flows over the beat pretty well afterwards, and has some nice lines within his verses too - especially the second one, for sure the best here. Even if the hook probably should have been re-written, I'd say this is a decent attempt at a West Coast banger - and is certainly a hell of a lot better than "Get Your Mind Right Mami", his last Westside collaboration. 

12. Lucifer (prod. Kanye West)

Kanye's second effort on here certainly isn't quite good as the first in my opinion (which I appreciate will rile people up, and I understand), but it's still decent - I just think the samples and main instruments are a little... weird? They just don't feel like they fit the vibe of the album. However, I think that Jay-Z helps the track's case by dropping three incredible verses and a surprisingly catchy bridge that keeps this short track's quality in line with everything else on the album. I especially love the last verse, and specifically the last line poking fun at the belief that a Christian's wrongdoings are the Devil's, not theirs. As I said, I don't love the beat personally, but I do really enjoy Hov's performance - it's for sure one of the best here. 

13. Allure (prod. The Neptunes)

Alongside Kanye, The Neptunes are the only production outfit to get more than one credit on this LP, and I'm happy with that, as their contribution to this track is absolutely bloody lovely. I remember that when I was first listening to Jay-Z's music, this was actually my least favourite song on the album, but I can only imagine the reason was that I never payed enough attention to it and kept forgetting it - because now it's comfortably one of my favourites. Not only is the instrumental beautiful, but the rapping from Jay-Z is perfect, with a lot of reminiscent and regretful lyrics about drug dealing - and his delivery of the chorus is simply perfect. If this isn't Jay-Z at his finest, then I don't know what is. It's an absolute classic. 

14. My 1st Song (prod. Aqua & Joe "3H" Weinberger)

Ironically intended to be the very final song Jay-Z ever released - when you listen to the chorus and realise that fact you'll get goosebumps whether you like it or not, trust me. In contrast to the last song, this was my favourite track on the album on first listen, but since then it's ever so slightly grown off me, even if I still enjoy it. I mean, Jay's double time flows may have worked for him when he was young and hungry for a deal, but here he often doesn't sound entirely comfortable, and on top of that the extended outro where Jay announces he's going "golfing", before acting like ordering a cheap coffee is a massive treat, makes me not want to play this song as much outside the context of the full album. Still, the negatives don't outweigh the positives to any extent here - this beat is incredible, Jay's falsetto in the hook is surprisingly not awful, and the lyrics and chorus are compelling no matter how they're delivered. This is not only a great song, but a fitting way to close out Jay's impressive eight year run. Although maybe it would hold more weight still, had the retirement lasted for more than three guest-appearance filled years... 

It's no wonder that this project is frequently mentioned among some of the best hip-hop projects of the 2000s. The Black Album is incredibly diverse both musically and lyrically, meanwhile being equally consistent in its quality throughout the runtime, and ending exactly when it needed to around the 55 minute mark. This project contains probably the best track run in the Jay-Z catalogue from "Encore" to "Public Service Announcement", and even either side of that there's very little in the way of faults to be found. Oh, the choruses on "What More Can I Say" and "Justify My Thug" are kind of annoying. Oh, the beat on "Lucifer" is out of place. Oh, Jay-Z admitted to being a sellout. These are tiny nitpicks that are ants when put next to the monstrous levels of quality presented elsewhere in this album. You'd think a song like "99 Problems" would be an easy standout on whatever album it appeared on, but for me there's an argument for it not even making the top three of this LP - I mean it is competing with "Encore", "Dirt Off Your Shoulder", "Threat", "Allure" - I could keep going. And I also love the layout of this project, with (almost) every song with a different producer behind the boards - it allows Hov to both revel in what he's used to with Timbaland, Just Blaze, Kanye and The Neptunes, as well as experiment and work joys with the sounds of new producers to him, like 9th Wonder, Rick Rubin and DJ Quik. And for my money, this is the best Jay-Z has rapped ever. He sounded ever so slightly more comfortable on his first two albums, sure, but here he masters the swagger and confidence that has defined much of the man's music up to this point in his career. This isn't just one of the best Jay-Z albums, and a personal favourite for me - it's one of the best artistic statements in the genre full stop, and when it came to send offs, it couldn't possibly have got much better than this. There was only one problem...

Enter: Kingdom Come

Best Tracks: hmm... let me think about that...

Worst Tracks: Oh, come on. Are you kidding??

Catch up on quite a few more Jay-Z reviews I've written here.

Murs-athon pt. 16 - Have a Nice Life

Damn I haven't done one of these in a while.

I mean, it's not like I've fallen out of love with Murs' music or anything - since late September when I last covered a new Murs album on this blog (Jesus that feels like years ago) I've still been bumping quite a bit of his music from time to time, especially tracks from the first two 9th Wonder collabs, which still hold up as incredible projects. I think the main reason for me not listening to any of his new albums is simply that it was all becoming a bit samey. Murs was releasing so much music in the early 2010s, and with his flow being admittedly quite set in stone, and his lyrical content frequently teetering on the edge of corny while just maintaining more of a sense of relatability, it really just came to the point where I liked what he was making, but never really felt much urge to come back to it. I think having a long break from the Murs-athon was a good idea, as it means his style will seem more fresh to me now. Hopefully, since it was three years since The Final Adventure and the project we're covering today, it'll be more fresh for him too, but I won't get my hopes too high on that front. 

The hilariously titled Have a Nice Life is the 16th (!) project I'll be covering in the Murs catalogue, but make no mistake this is no regular release for the guy. Because in 2014, after switching between labels as fast as he was random collaborators for different albums (half of which I didn't even cover), Murs struck up a three album deal with Strange Music, the label headed by one of my favourite rappers of all time, Tech N9ne. This led to three appearances from Murs on Tech's Collabos project Strangeulation, and I still remember the first time I heard Murs' performance on "Hard (A Monster Made It)", incidentally the first Murs performance I heard full stop. I was blown away, as I'm sure a lot of Tech's (at this point) large fan base were as well. For an introduction to a completely new set of fans who would never have dreamed of checking him out before, this verse was phenomenal, as were his other two performances on the project. This meant that Have a Nice Life became one of Murs' most anticipated projects up to this point, and when it was released in May 2015 it charted at no. 94 on the Billboard Hot 100 - his first to land on the chart at all since 2010's Fornever. And this is without a single Strange Music artist even landing a feature - the only name I recognise on the back of this CD is E-40, who wasn't exactly mr. flamboyant anymore by 2015. 

The reception to this album was... alright. I'm seeing mixed reviews on the internet, complementing Murs' rapping but criticising some of the album's production. I've already heard two of these tracks, and I really like both, but then again these are two of the most well-regarded on the entire album, so I'm not going to get my hopes too high. What I'm most hoping to get out of this project is simply a different take on the Murs formula - I want an album that pushes Murs out of his comfort zone, into doing something perhaps a bit different to what he kept putting out over and over in the early 2010s. It doesn't have to be perfect, but with any luck it'll at least be interesting.

Right. Let's do this. 

1. Have a Nice Life (prod. The Arsonist, co-prod. DOC)

Starting off with one of the two songs I've already heard, the title track of this album is also one that's going to be bloody difficult to beat when it comes to the best track on this album. The song opens with a nice drum loop that soon is complimented by absolutely beautiful piano, and a long-ass verse from Murs that happens to contain some of his best writing ever - I will always remember the bar "I don't wanna dye my grey, I don't wanna hide my hair; 'cause a lot of my homies died before they got there", one of the most poetic and goosebump inducing lines this man has ever written. The verse is also helped my Murs' delivery, which for the first time sounds tired and weary - he sounds like an old man, one who is ready to settle into a veteran status that he has very much earned, and it compliments the reflective and content subject matter within the verse. Instrumentally, lyrically, vocally... this is the best song Murs has made in a long while, and I would be shocked if we get something better than it here. I love this track. 

2. Surprises (feat. Ryan "Myagi" Evans) (prod. Bernz & Gianni Ca$h, add-prod. Danny "Keys" Perez)

After such a somber and melancholy opener, I feel like a turn-up track might have been appreciated here, but that's evidently not what Murs has in mind - clearly the rather depressing photography for this album is going to be representative of it's overall sound. I didn't have high hopes for this one when guest vocalist Ryan Evans begun his crooning chorus, but I will admit that the track grew on me as it played through. Murs tells two stories here of people that he grew up with who no longer want anything to do with him, and it's quite compelling - Murs' matter-of-fact style of lyricism has always been put to good use when storytelling, and this track right here is a great example of this. I also like the chorus quite a bit - rather than hopeful and irritatingly pretentious like most of these male R&B hooks rap albums utilise, this one is accepting and agreeable - "nothing surprises me no more". The generic trap beat isn't exactly a winner, but everything else about this song went down as well as I would have hoped. This is a good track. 

3. Mi Corazon (prod. Jesse Shatkin)

Probably the most radio-friendly sounding song Murs has ever made in his life, this tale of love with a near-death experience woven in (easily the most engaging moment of the track) is helped along by a beat and female-sung chorus that could easily pop up on radio 2 in your mum's car. I was half expecting to hear a "this is Heart" followed by a swooshing sound effect after the last ear-worming cry of "tell me that you're never gonna leave me", sung by an uncredited Raquel Rodriguez, passed through my speaker. Murs' storytelling on here is pretty nice, and the music is very competent... but it's very clear that the man is aiming for a completely different audience here to what he was on Good Music and Murs 3:16. Also, the whole Spanish element of this song was completely random and unnecessary. There, I said it. 

4. Woke Up Dead (prod. Jesse Shatkin)

Say what you want about Jesse Shatkin, but you can't deny that he's got diversity. After the previous attempt at making a song for the white women, here's a track from Murs that he actually seems to have made for himself - a track about PTSD-induced nightmares where he's getting murdered by people for who he hangs out with - the crips. Murs is no stranger to commentary on gang violence, and here his message is only accentuated by Jesse Shatkin's intense instrumental, that makes you nod your head til it falls the fuck off. It's a great beat, and Murs' rhymes are both engaging and socially relevant, which is a pretty great combo if you ask me. I'm a massive fan of this one. 

5. P T S D (feat. E-40) (prod. Curtiss King)

While the synth-heavy beat from Curtiss King was clearly made in mind with the intention of guest E-40, Murs makes a pretty good case for himself over this beat, proving that he can move away from his usual flow and still sound good. Seriously, Murs' vocal delivery and flow have been really nice throughout this album so far. As for E-40... he's okay, but the constant ad-libs are kind of off-putting to me, and don't really help convey the seriousness of his message well at all. The subject matter of this song is good though, and it's sequenced well - Murs goes from talking about his own trauma on the last song to that of others here, and it's a good choice. The track as a whole is good - would've been better with a verse from Tech N9ne though...

6. Okey Dog (prod. Jesse Shatkin)

I'm pretty sure that this is Murs' most streamed song, and the only other song on here aside from the title track that I've already heard prior to today. It is a good track, and you can definitely see why it's so popular, even if personally I think this album has a couple of better tracks so far (especially "Woke Up Dead"). The instrumental is bouncy and percussion heavy, and one that's very easy to dance to - meanwhile the repetitive chorus is an earworm without being excessively poppy like that on "Mi Corazon".  Also, Murs exhibits a talent only few other rappers (like Andre 3000) have exhibited in the past - staying true to his storytelling self whilst still being able to make a radio banger. On this track Murs talks about a gang banger that he idolised whilst growing up, and the potent storytelling is only emphasised more by the great video. Overall, this one is a big time banger of a track. 

7. Pussy and Pizza (prod. Jesse Shatkin)

Jesse Shatkin's sentimental beat doesn't really reflect Murs' lyrical content on this song, which is about how he'll fucking kill you if you don't provide him with women and junk food. Seems like a good philosophy for life. It's a shame that this song failed to really engage me - Murs' lyrics aren't exactly likeable on here, and the chorus isn't profound enough to be played so many goddamn times throughout. I didn't hate this one, as the beat was nice and Murs still sounds good, but this is the first song where Murs' occasionally corny immaturity is evident on this album. In short: ehh.

8. Two Step (feat. King Fantastic) (prod. Jesse Shatkin)

I think I've heard this one before as well, although it does sound very similar to "Okey Dog", so I'll forgive myself for forgetting that. This track aims to do exactly what that track does, which is make a West Coast-style synthy banger for the clubs, and it does a decent job - again, it has a repetitive yet potent chorus, and this time the addition of King Fantastic (damn that guy must spend a lot of time in front of the mirror) helps out the track, as the guy has that West Coast drawl that Murs is missing. The track does feel like a bit of a rehash of "Okey Dog", but on its own it's still a decent banger that I enjoy a lot. This is pretty good. 

9. No More Control (feat. MNDR) (prod. Jesse Shatkin)

I'm only just now noticing how much of this LP is produced by Jesse Shatkin. I mean, he's good, but it's no wonder why there's such a mainstream air about this thing. "No More Control" is an attempt at a protest song from Murs - he claims on the track to want an "educated street movement", and follows it up with the rather incredible lyric "it's fucked up what the police doing / but motherfucker, look what we doing". This isn't the first time a hip-hop artist has mentioned how gang violence is just as if not more detrimental to the black community than police brutality, but it is still a powerful note to end the track on. Meanwhile the instrumental and chorus from MNDR help bring the anthemic movement feel of the track home, and I actually found myself humming this chorus as I was writing this up. Despite myself, I really enjoyed this song. Fuck it.

10. Skatin Through the City (prod. Plex Luthor)

Murs takes things a bit more down-to-earth on this one, talking about his progression as a skateboarder over a relaxing instrumental that's actually one of my favourites on here, and one of the few that sounds like it was made with Murs in mind specifically, rather than any Strange Music artist who would take it. This track is one of the few songs here that you could actually chill out to, and it's very successful at this vibe too - Murs understands the assignment, and makes sure not to drop any clangers of bars throughout, which I commend him for - and this beat is nice as hell (the scratching is also appreciated). Despite the title being a bit iffy, I overall enjoyed this track a lot. 

11. Anyways (prod. Jesse Shatkin)

Another dodgy title? Jeez Murs, anyone would think you'd want the consumer to leave this one at the stores. And that'd be a mistake, because I was actually surprised at how well this turned out. The track is about Murs' resignation to the fact that him choosing to get into rapping rather than drug dealing, and live an ethical life whilst uplifting others, isn't going to stop his neighbourhood from being the drug infested place it has been since he's been growing up. He begins the track by telling us how his father left his mother in pursuit of drugs when he was very young, and how cocaine and other hard substances have plagued his friends ever since. Sure, he can stop taking them, but he feels helpless to the plights of others, and the rather sad instrumental certainly helps exemplify this emotion. The track has a feeling of hopelessness about it, and without a happy ending it becomes one of the more depressing songs on the whole record. Oh, and also one of the best. 

12. The Worst (prod. ¡MAYDAY!)

This track, which stood out to me on the tracklist because it shares its name with a certain Tech N9ne album, is all about Murs being unfaithful to his wife, because he can't help having sex with this woman who was at one of his concerts. Musically, this song is really good, and with some better vocals this chorus could have been one of the catchiest on the whole album (even though I fucking hated it at first). However, I can't fully get into this track, because Murs seems to act like his infidelity is only a problem because his life will be ruined if his wife finds out - he expresses absolutely no guilt about his actions in the entire song, and acts like the woman texting him in front of his wife is an inconvenience for him and nothing more. It's like he doesn't even think his wife has feelings. Sorry to come off as some sort of Karen here, but I just really dislike Murs' demeanour on this track. Still, musically... it's good. 

13. Black Girls Be Like (prod. Gianni Ca$h)

I appreciate the sentiment, but no. Just no.

14. I Miss Mikey (prod. Jesse Shatkin)

Carrying a very similar vibe to the opening track, this was actually a really sweet closer to this album, even though I do have issues with it. My main problem with this one is that both of Murs' verses only have twelve bars, which is an annoyance because it's always bars 13-16 that hit the hardest, and when the verse cuts off at bar 12 it kind of reduces the impact of the message for me. Still, I liked Murs' flow on here, and I really enjoy the instrumental from Jesse Shatkin. Overall, easily one of my favourite tracks here. Also, it was interesting to hear the "Straaaangeeee Music!" tag on the end - even though I said a lot of the beats sounded like a product of the label, Murs' presence and the lyrical themes made this album feel completely separate from everything else the label had going at this time. 

The following song is the bonus track available with the pre-order version of this album.

15. Fun-eral (performed by Felt feat. Ces Cru) (prod. Jesse Shatkin)

Easily the grimiest and most underground song on the album, it's easy to tell why this was relegated to bonus track status - despite Ces Cru's involvement, the Strange Music audience were more used to airy trap beats and futuristic synths at this point in time. On a Rhymesayers release this track would have been promoted better, as it should be, because it's really dope. I love Murs, Godemis and Ubi on here, even if Slug sounds like a random white dad they pulled straight out of an office cubicle into the studio (sorry if that sounds harsh), and we've got more record scratching here too, which is always a good thing. I really enjoyed this track, and the fact that it's not available on a CD pisses me right off. 

And so we come to the end of Have a Nice Life (*emits light chuckle*). And... I liked it quite a bit! I feel like Murs did what I wanted of him here and switched up his sound a bit, experimenting with lots of different styles of instrumentals and managing to work his magic over most if not all of them. He also made attempts to switch up his flow on here, which was very much appreciated, and managed to place guests in the right places, without having too many of them (something his label head at the time definitely couldn't relate to). Have a Nice Life isn't without flaws - some of these songs sound way too radio friendly to ever be appearing on a Murs record, some of these song titles make me want to vomit (I mean, "Black Girls Be Like"? That sounds like the title of a two minute racist YouTube video), and occasionally Murs does get a little corny. But on the other hand, his ear for beats seems to be pretty clear on this thing, with variation but still a cohesive sound to the project, and his lyricism is more potent than it has been on some previous releases, with lots of great quotes and messages to be taken away. The overall vibe of this project is one of loss, but also one of acceptance of the ills of this world, and it's a relatable release that I'm sure most of my readers would enjoy listening to. Sure, it's not his best, but what it does do is make me a bit more interested in the Murs catalogue yet to come. So mission accomplished, I'd say. 

Best Track: "Have a Nice Life"

Worst Track: "Black Girls Be Like"

Catch up on more of the ever growing Murs-athon here!

Mobb Deep - Hell On Earth

After releasing a classic album, an artist (or in this case, two artists) is faced with a pretty tough task of following it up. This is because there are pretty much two things you can do, both of which are guaranteed to have just as many naysayers as they have fans. You can either do something very similar to your classic, which could potentially be seen as repetitive and uncreative, or you can completely switch things up, and risk alienating the fanbase you created for yourself with that classic album. This is a position many artists in hip-hop have found themselves in, and perhaps none quite as much as Mobb Deep in 1996. After their alright debut Juvenile Hell, Havoc and Prodigy had released The Infamous in 1995, which in my opinion might be the quintessential '90s hip-hop album. The project not only had a brilliantly overarching message of animosity yet acceptance of the duo's violent lives in the streets, but it was also filled with some of the most haunting and intense instrumentals of the decade, and some of the most quotable and well-written verses too, especially from Prodigy, one of the scariest figures of the time in the genre. And who could forget the indisputable classics it produced - "Shook Ones Pt. II", "Survival Of the Fittest", "Give Up the Goods (Just Step)", "Hey Luv (Anything)" (wait no). The album was phenomenal, and left Mobb Deep wondering just what the hell they could potentially do to even match it, let alone top it. 

Well, what they did was take a look at the two options I mentioned above, and decided that with the correct calculations, they might just be able to pull off both of these simultaneously with just the one album. And so, in 1996, Mobb Deep released Hell On Earth, and... wow. 

All songs produced by Mobb Deep. 

1. Animal Instinct (feat. Ty Knitty & Gambino)

Immediately on Hell on Earth, Havoc lets us know that Mobb Deep aren't going to be doing too much switching up on this record - not only through his actual admitting that this album was going to be them making The Infamous again, but also through his instrumental and opening verse, the former of which is gritty yet cinematic, and the latter being violent, confrontational, and memorable, all in equal measure. I mean, Havoc's opening lines here could get stuck in your head for days. And it's not like these other chaps are slackers either, as they all continue the theme of violence and machismo, letting the listener know just what the fuck they are about to get themselves into. The structure of this song isn't the most interesting, and the instrumental isn't my favourite on the album, but as a whole package this is still a pretty damn effective way to open your album. But if you didn't like the almost classical sounding strings, I wouldn't worry - this song does sound quite different to a lot of the other tracks here. "Crime pay - but for how long 'til you reach your downfall??"

2. Drop a Gem On 'Em

The Mobb's infamous (get it?) retaliation to 2Pac's name-dropping them on "Hit Em Up", complete with one of the dopest and most iconic instrumentals of the entire '90s decade. I mean, have you heard this beat? The haunting pianos, the loud and in-your-face percussion, the ghostly female vocal samples that come in and out... shit, if I was Pac I would have been shook to my skin before the first verse started! And since it's Havoc and P in their primes here, you can expect the verses to be even more scathing, and that they are. Unlike on the first song, I do think Prodigy outshines Havoc quite a bit here, with one of the best verses on the entire record, but that isn't to say Havoc's performance is weak, because he held his own in there too. It's just that while Havoc gave the beat a firm talking to, Prodigy brutally slaughtered it, and it's mother too for good measure. His flow, his lyrics and his vocal delivery are all a significant improvement over those on the opening track, and probably over an amount of stuff on The Infamous too for that matter.  It's verses like that that make me never want to even try to rap again, since I'll inevitably never match it. In conclusion - this song is fucking incredible. 

3. Bloodsport

Easily one of the more underrated tracks on the album, this song very nearly matches the previous one in my opinion when it comes to haunting intensity. I mean, sure there's much less energy in this beat, but that can be a good thing - imagine this shit in your headphones while walking through the woods at night. Of course, you might go from dead scared to bursting out laughing when it comes to Prodigy's verse - I'm sorry, but some of the blatant homophobia in '90s hip-hop is just hilarious nowadays when listening in the world today. P's line "nigga get down, queer, stay down" is probably my favourite for sheer humour. Other than that, the rest of the lyrics on here are pretty damn great - once again, it sounds like they're dissing someone, and that someone could be one of many given the amount of disagreements Mobb Deep got into in this era. 2Pac? Keith Murray? It could be anyone. Still, I see it as one of those "if you think it's about you it probably is" situations, and it works well - this is another banger. I do wish they didn't repeat that final hook though, as that was a bit of overkill.

4. Extortion (feat. Johnny Blaze a.k.a Method Man)

Possibly my favourite song yet, thanks to the presence of the ever charismatic and incredible Method Man, who just does not miss on his guest appearances. Seriously, how the hell does he come up with this stuff? I'd say that so far, he has the second best verse on the album, after P's on "Drop a Gem On Em", and even then it's damn close. The instrumental on this one also helps with my positive feelings towards it, as it's funkier than some of the previous beats, with a dope-ass bassline and some ghoulish synths moving around over the drums in keeping with the spooky sound of this album. Havoc and P make light work of the instrumental, but it's Meth that really sends this one over the edge, with his wonderful flow and humorous lyrics that are actually a nice relief from the cold blooded threats of our two hosts. This is one of Mobb Deep's best deep cuts, and a classic that I wish more people knew about. 

5. More Trife Life

Following up one of my favourite joints from The Infamous, Havoc goes it alone to tell a most likely fictional but still very entertaining story about being set up by an ex-girlfriend he went to meet with. I won't spoil more of the story for anyone who hasn't heard it, but I will say that this is a really nice switch in subject matter, and this track feels much more directioned and focused than some of the other songs we've heard up to this point. Not to mention, the instrumental is also incredible, mixing intensive percussion similar to that on "Drop a Gem On Em" with the haunting instrumentation that reminds me more of "Bloodsport". While I don't quite enjoy this as much as the original "Trife Life", it does come close, and that tells you all you need to know about the quality of this one. 

6. Man Down (feat. Big Noyd)

This song is most notable for it's multiple shots aimed at Def Squad, with references to the group's "spaced out shit", and also to Redman's classic "Time 4 Sumaksion". Of course, P had addressed them before on The Infamous, but this is the first time he (and Big Noyd too) made it clear exactly who they were talking to, and also the first time the disses were in actual song form. As a big, big Redman fan I'm not as keen on these disses, but otherwise this is yet another top class Mobb Deep song, with one of the more loud beats on the album that once again feels straight out of a horror film - only this time perhaps more of a comedy one. The rhymes on here are some of the most memorable on the whole album too, and Big Noyd once again proves himself as easily the best Mobb Deep affiliate with a fantastic, very quotable final verse. This is another brilliant song. 

7. Can't Get Enough Of It (feat. General G)

Completely diverting from the harsh sounds of all of the previous tracks, Havoc's beat here sounds more sentimental and sorrowful, like the sort of thing you would see on those "Dead Homies" joints that rappers always feel the need to do. Oddly, however, the Mobb don't appear to switch things up much lyrically here, offering similar aggressive content to every other track - the difference here being that their vocals are given a sad and depressing air thanks to the instrumental. General G's feature on here is pretty fun, as his voice certainly stands out, and I enjoy the verses from our hosts plenty... but this is the first flawed song on the album, less because of the strange atmosphere of the beat, and more because of Prodigy's terrible sung chorus, which makes absolutely no sense on the song, and sounds corny as hell. Make no mistake, I still enjoy this song a lot... but don't ask me what they were thinking with that. 

8. Nighttime Vultures (feat. Lex Diamonds a.k.a Raekwon)

Isn't it amazing how so many instrumentals can have almost exactly the same feel, and yet all sound so brilliant and diverse? This track makes up for earlier's "More Trife Life", as while Havoc provides the hook, he has no verse, and instead leaves his spot for the second Wu-Tang member to appear, Raekwon. While his verse here is nowhere near as incredible as Meth's on "Extortion", I still like it a lot, and Prodigy does even better, with a verse that was surely a big inspiration behind Eminem's song "3 a.m.". There's not really too much to say on this one - it's just yet another really great song. 

9. G.O.D. Pt. III

Probably the scariest song in the entire Mobb Deep catalogue. Over the theme tune from Scarface and some phenomenally intense drums, the pair rip shit up with aggressive verses that fit just perfectly with this beat - I almost feel like this is the quintessential beat for Mobb Deep, despite the fact that "Shook Ones Pt. II" and "Drop a Gem On Em" exist. Perhaps my favourite part of the entire song is the drop in after the ridiculous skit at the start - those synths exude menace and paranoia, and almost make me want to run screaming for the hills as I hear them come in, that's how horrifying they are. Sure, the effect isn't as strong once you get about halfway through the song, but even then it never really loses its oomph, and the rapping always keeps things afloat - "horror tales in braille for the vision impaired" is a personal favourite line. Overall, this is easily one of the best songs here, and one of the best Mobb Deep songs full stop. What a banger. 

10. Get Dealt With

Dare I say it, one of the more chilled out tracks on this album, even if the rhymes typically will occasionally make you take a glance over your shoulder if you're bumping this in the street. One thing I think The Infamous has over this album is that it's not quite as one-dimensional - this album always felt a little too much in the same vein to me, and there are points where it feels like it's rehashing it's old ideas. Thankfully, this song keeps things fresh by having a more relaxed mood to it, and it works as a great shorter track in-between some of the more intense moments on the record. It's a dope one. 

11. Shook Ones Pt. I

There are many positives to living in the UK and not the US. Free healthcare, incredibly strict gun laws, no chance of being massacred by a bear, and so on. But perhaps the best advantage for us is that our Hell On Earth CDs came packaged with this gem, the original version of Mobb Deep's most notorious song. Of course, I'm talking about "Shook Ones Pt. I", which would probably be regarded as one of the best tracks of the '90s if it weren't overshadowed by its sequel. Whilst the chorus and Havoc's verse (the last third of which is performed by Prodigy here) are basically the same, Prodigy's opening verse is very different, as is the instrumental, which is more atmospheric and wavy, but at the same time just as gritty, as the original. Seriously, if you haven't heard this I'd check it out ASAP, as it's a worthy companion to Pt. II. What a track.

12. Hell On Earth (Front Lines)

The most notorious song on the entire album, and I guess you could say the emotional climax too, as this is the most somber and saddening track on the album - it's also utterly phenomenal. Let's talk about the beat first, which is a masterpiece. The drums are fast paced, but calmer than a lot of the others throughout this record, and keep a sense of urgency while still maintaining the depressing and bleak feel of the track. Then, we have the instruments on top playing the bassline and the melody, which come together to create a simultaneously relaxing and haunting musical backdrop for the MCs. This beat is masterful, and what's even more incredible is that the pair manage to do it justice, with some fantastic verses, and one of the more memorable hooks of the whole album. Inevitably, it's P who is the MVP of this one - his opening verse is enough to send you flailing off your chairs in astonishment, and when he comes back in for another verse at the end, you'll probably flail off again, cartoon-style. This man was truly a monster on the mic, and it's songs like these that prove this to full effect. R.I.P. Prodigy, man... . I cannot stress enough how much of a classic this track is - I envy those that will get to hear it for the first time. Damn this shit is dope!!

13. Give It Up Fast (feat. Nas & Big Noyd)

You know what could make this album even better than it already was? Nas. And that's exactly who they got, for this track that sonically sounds kind of like the first song, with it's cinematic instrumental that implements some orchestral strings (or at least I think that's what they are). Nas actually starts this one off (following the sound of a plane landing to tie into the story), and he does an excellent job as you'd expect from the greatest rapper of all time (in my humble opinion) - everyone else does their best to match his performance, with Prodigy coming out on top. Seriously, I think P may well have been the best rapper in the world in '96 - either him or Andre 3000. This isn't one of my favourite instrumentals on the album, and this track certainly isn't hugely memorable, but when you're listening to it it's as entertaining as could be. Great stuff. 

14. Still Shinin'

That title reminds me of another fantastic rapper from this year, Busta Rhymes, who had released a song with almost this exact same title months before this Mobb Deep record came out. I remember not really caring too much about this song when I was first getting into this album, probably because the beat is more soulful than menacing, which doesn't really fit the Mobb Deep sound in my opinion. Upon relistening today, however, I've gained a newfound appreciation for this song, which sees a more positive side to this duo, and seems more of a celebratory track than anything on this album or their previous effort. This song is a small island of positivity and happiness in a sea of murder and violence, and I very much appreciate it for that. I really wasn't expecting to enjoy that so much this time. 

15. Apostle's Warning

The final song on this album sees Havoc using a female vocal sample similar to on the last track, only this song fits more conventionally within this record sonically. Havoc's vocal presence on this track is barely notable though, as Prodigy's verse is far longer, and also goes into some areas which he hasn't explored yet on this album, such as the paranoia that he won't be able to see his child grow up as he'll be killed on the streets while his kid is still a baby. He makes you feel his words on this one, and it's one of the more powerful moments on the album - of course, this wouldn't be a Mobb Deep track without the murderous and violent moments, and there's plenty of that too ("I won't snap at you, I'm going for throats" comes to mind). This was probably the perfect way to finish the record off, with a nice balance of typical Mobb Deep with more introspective stuff. It's yet another brilliant tune.

Some pressings of this album came with a bonus track titled "In the Long Run", but sadly I don't own that particular version. Once I've located this track, I'll come back here and review it. 

Coming off of Mobb Deep's previous record, this album had some pretty planet-sized boots to fill, and while I personally prefer The Infamous, since it's a little more diverse and quotable (and also obviously more innovative), I would completely understand someone saying that they preferred this - that's how incredible of a follow up it is. On this album, Havoc took the sound of The Infamous, muted any jazzy and funky inspiration that album took (whilst throwing Q-Tip out of the studio like Jazzy Jeff), and then turned the horrorcore right the fuck up, making for an even darker and bleaker listen that is ideally played whilst sitting on a rock in the middle of Venus during the summer months, when all the lava is bubbling up around you. Not just because this album feels like that, but also because that would help match the paranoia and fear that this album succeeds in expressing to the listener, in a similar way to The Infamous. I do feel that this record fails in bringing across the violence as a bad thing, which is very clear to me on The Infamous, but that's alright - this record works as a perfect companion to that album as an insight into the minds of killers in their darker moments, when they really do feel the motivation to kill and torture. Sure, the album is called Hell On Earth, but a lot of the time Havoc and Prodigy make their surroundings sound more like their personal heaven, with the amount of passion that goes into their diatribes here. And how could I possibly end this review without talking about Prodigy, who ups his game here even further than on The Infamous. Havoc is perhaps less essential on this album, but the best Prodigy verses here are his best full stop, and there's a couple that could legitimately stand as top ten rap verses of all time. This album isn't just the follow up to The Infamous - it's an incredible piece in its own right, one that aims to delve even further into the mind of a gang member on the streets, and does this successfully through some incredible rapping, and some similarly incredible production. Don't ask me how Mobb Deep managed it, but with Hell on Earth they actually created a worthy follow up to The Infamous. And if that doesn't set them firmly in place as hip-hop legends, then I don't know what the hell could. Thanks for reading!

Best Tracks: Drop a Gem On 'Em, Bloodsport, Extortion, More Trife Life, G.O.D. Pt. III, Hell On Earth (Front Lines), Apostle's Warning

Worst Tracks: Can't Get Enough Of It

Catch up on more Mobb Deep write-ups over here!